Best bass in my stable is a mid level Yamaha, far cry from my boutiques. My dad heard me playing it acoustically from the other room in the shop and suggested I buy it. I agreed and I did. It has payed for itself ten times over and keeps my custom basses safe at home for when I need to feel fancy.
After playing for about 3 years on a 4-string Cort PJ bass, I wanted to upgrade to a 5-string, more specifically a Fodera Imperial. Unfortunately, I couldn't afford it (and still can't). I ultimately decided to build a clone from scratch. Took me 6 months to make, but I've been playing the 5-string bass for the last 3 years after completing it, and I'll never trade it for anything else.
Mate, you don't need a Fodera. It's honestly a very overrated brand. Yeah sure they make great basses but in my opinion they do not justify the price range they are marketed at. I've played numerous Foderas and even owned a couple, and while they certainly aren't bad bass guitars, they also certainly don't give the feeling that those were the best 10k€ I've ever spent in my life. Sure I could say that to comfort myself and to show off that I in fact do have an original Fodera and blah blah, but we know what this is all about. Accounting for inflation, 2-3k€ range is where you will find bass guitars that are the pinnacle of professional bass playing and will never need to ask for anything more. My point is, you did a good thing by going your own way, you have very likely learned muuuuch more doing your own clone than you ever would by dropping 10k on an og Fodera.
There is definitely nothing like building a clone yourself. I have built a FSO strat shaped short scale pj that I adore and am building a 34" scale 4 string neck through. I love the personal touch of building them.
To Scott and Ian... I don't know if you guys actually read all the comments but hoping you do because i want to let you know that at 75 years old one of the few things that bri g me joy is playing bass in my band. And to see how much you two love what you're doing is incredibly heartwarming. I play a wide variety of instruments but none produce the joy of a well crafted and played bassline. Thank you for sharing your passion.
Years ago when I called Fodera, they didn’t seem to want my business. Later on while working with the Greek band Annabouboula; I went looking for a five string because I wanted a low b. Every bass I tried sucked. Then I was informed that the Queens Sam Ash store had a six string that I should try. I didn’t want a six string but I hopped on the subway anyway. I loved that bass but it took several months before I pulled the trigger. It is my Ken Smith BT6G. What an amazing instrument, as is my 1979 Alembic Omega Series II. And “Jenny my 1971 Fender Jazz Bass which I got in 1971 when I was 12 years old. And later I’ll tell you my BT6G at a blues jam story 😂😂😂 Love your channel❤️❤️❤️
I had a meat and potatoes custom bass built for me - being a lefty by Mike Lull around 2007. No pre amp electronics it was just a great passive thing of of beauty. He was very accommodating and sent me a picture with the bass and him building it.
@@MikeLullCustomGuitars I brought in a Jackson rhoads from the early 90’s for you guys to take a look at. I played one of the Mike Lull basses while you guys did your thing. Someone even brought me a cord to plug it in. Played like butter. Sounded great. So nice. What a great experience I had there. Everyone was so kind.
I'm surprised you guys didn't mention Carl Thompson Basses. Also Just as a side note, Fender definitely releases some wildly boutique custom basses from their shop. $10,000.00 dollar range. Wyn basses are amazing too.
It's a sliding scale, in general not mass-produced, the more custom and the more the client is involved in the process, the more special it becomes. Then the people working on it, are they proper craftsmen, or some people on the assembly line. The quality of the workmanship, the time spent, the quality of the hardware, ... Price is only a reflection of all of that. And you can get 'hand-made' instruments for under £2K, which are absolutely fantastic and unique (and I did).
Find a smaller sale boutique builder...I went to Jon shuker up in the peak district, derbyshire as I only live 20 minutes away. Best service and one on one ever... and the most gorgeous , personal bass, with the best top features and woods at a much lower price than another UK builder I used years ago. What a great experience for my 50th birthday present. You rock Jon!!! And on the other hand, I only ever gigged with my £250 squier 70s p bass.
Mayones are really interesting and on the borderline. I have a Mayones guitar, a Regius 7 (neck through), my choice of wing material, number of strings, colour and finish, pickups, fingerboard material, scale length, bridge and tuners. But at the same time there's plenty of a batch work and they optimise their process with CNC equipment, etc. But that is my guitar, there is no other like it, and that's definitely boutique experience. And I think a lot of people don't realise when they see a Mayones on the wall, that the shop or the local distributor most likely made those choices.
@@rustythoughts 100%...it's no coincidence that those instruments that the stores spec normally turn out to be amazing, they know what they're doing when they order them 🤷🏻♂️
Mayonnaise are definitely boutique or at least pressed right up against it. I feel bad calling them Mayonnaise but it makes me feel better about not being able to own one. 😅
I'm more of a metalhead, and so while I love your advice and banter and enthusiasm for all things bass, I often disagree with you on esthetics and matters of personal taste. That said, that custom Spector was sooooo beautiful. Thank you for showing me!
Thank you Scott and Ian. I have played Kiesel basses for years. They have an academic approach to bass building and their measurements are precise. The best part for me, being a lefty, is that I have a unique bass with body woods, neck woods, and fretboard woods that I chose. I love my Kiesel however I still love my old ass Fender Precision. I feel lucky and I hope everyone reading this does also.
I own a wonderful boutique 6-string built by a young solo luthier, an instrument that is a beautiful work of art in addition to being a wonderful instrument to play. (Xylem Bass) In addition to the positives, I appreciated Ian’s nod to supporting business. Seeing how hard it is for a young person to develop the luthier craft has made me an advocate for, if you are able, supporting small luthiers.
I had to comment on the part about boutique basses forcing you to get your stuff together. I've never had a boutique bass but my second was a massive jump in quality from my first. My first was a 4 string PJ style not even squire but like a dquire knock off, it was $150 Canadian. The second bass I got was a 6 string for $760 canadian (for band class, a lot of parts I was being given went either below a 4 strings range, or a little above, but mostly below. Also not that we were rich my parents financed that thing for like 5 years they just were happy I found something I was so committed to.) And every little deficiency in my playing showed, I had to completely rethink and be a million times more attentive to how I was plucking and had to focus so much more on smoothly moving my fingering hand to not get that zipper sound over the Amp, and ofcourse muting cause ofcourse 6 strings. It felt like a monster to handle for atleast half of that school year.
Pedulla started out boutique, as a one man shop. He eventually hired on help and did a mass produced line, and hated all of it. So, he dropped all of that, and ultimately made every bass with his own hands until he retired.
@@pmdinaz I started out with a Rapture J2-5. I bought it used, and fell in love with it. I sold my Warwick fretless and other bass I had along with several amps to get a Pentabuzz. Then I got a second Rapture 5, only with the PJ configuration. I feel like I'm set, honestly. If I could buy one additional bass, it would probably be a Rob Allen Deep 5, or something with that tonal envelope. The Pentabuzz is great, and I absolutely adore it. But it wants to be exactly what it was designed to be--a boutique Jaco bass. It doesn't pretend to be anything else. The one takeaway from this video that really resonates with me is "You might sound worse if you get the bass you want." That was definitely the case with the Pentabuzz. It took me weeks to sound good on that bass, versus the Warwick I had before it. Every flaw in my technique was suddenly amplified.
I think for some companies depending on which line they offer they could be considered "boutique". Warwick production basses vs their "master built" line. Regarding CNC I actually had the opportunity to tour a shop, not sure I should mention the brand here but they outsourced the bodies then finish sanded and painted in house. The necks were made by hand. Even the radius work on the fingerboard was manual against a belt sander by a guy who had been doing that for decades. Grand total of eight people would be touching that instrument from start to finish.
Great Video! 3 great topics you hit head on. "Bass Island" I have several boutique basses and when I'm in my practice room, they are epic. All of these beautiful overtones and beautiful attack.. Then I take it to a gig and the rest of the band washes out all of those amazing tones with their kick drums, symbols and distortions. As you said , it's all about knowing the room and fitting into the mix. You made a comment about recorders/producers. I would not call my self a recording veteran, but IMO most of the guys in the recording studio really don't know how to record bass and if they do its one specific bass. "Just go direct and don't worry I have all of the plugins." I have spent all my life dialing in a great tone and all they need to do is just plant the right mic somewhere and record it. I realize that is way easier said than done. But still, you would hope it is a talent that they would learn to perfect. "Everyone needs more basses" Well, I tried to use your quote on my wife and the answer was "No sex tonight" One last comment when it comes to boutique basses, I do enjoy my multi-laminate, multi-string active basses. But I am really a P-bass guy. I have not just played, but owned virtually every high end, non-made-in-Asia, P-bass. And I have never held onto one for more than 6 months. I have a few trusty vintage P's that sound so much better, that half way through a set I am daydreaming, wishing I left the boutique P-bass at home. I am not saying that every old Fender kissed by Leo himself is epic, because there are plenty of duds from the 50s, 60s and 70s, but when you find a great sounding one, its a totally new experience. Personally the two best sounding Fenders I own are from the early 70s ,not my older ones. Not because 70s Fenders are the best, but I just because I happened to stumble on a good piece of wood that has been played for a long time. Keep up the great work!
I know when I finally got to a point in my life where I could buy a "boutique bass" I got a Serek Midwestern and it took a year to get and I absolutely fell in love with it. I still can't put it down when I get off work. I am playing it while I watch this! For what it's worth, I think what constitutes a boutique bass is some sort of equation having to do with shop size, reputation, and specifically without being a major brand name with mass production methods.
I think you could say something like Fender Custom Shop is a boutique operation subsidized by the main production lines. A company like Fender is big enough to offer instruments for all customer categories. With Custom Shop, they can make a small number of instruments targeting the boutique market while also cranking out entry level instruments.
Here’s a pretty major boutique bass con that many don’t think about: Incredibly unstable/unpredictable resale value. You can pay a ton of cash for an amazing instrument built buy a really talented luthier, but if you ever change your mind and wanna sell it down the line you now have to contend with whether or not people know/respect them, or if anybody actually likes your specific configuration enough to pay close to what you paid. This just isn’t the case when you buy an off the shelf instrument at any price point. So ultimately you gotta buy a boutique bass you’re REALLY convinced about because once you’re past that return period, you might be stuck with it Note: this obviously applies less so with the more known boutique makers like Fodera, Ken Smith or F-Bass but is still somewhat relevant even then
It's all about what you fall in love with truly. It could be a 200$ Squier,a 9K Wal, or even both! Depends also on what you as an individual like in terms of sound and aesthetics.
The three best necks I've ever played were on a Sire p7, a Lakland semi-hollow, and a USA Peavey (a rare model, I can't recall the name now though). However, I only have 3 basses right now: A Spector NS Pulse II 5, A gretsch g2220, and an Amazon brand p-bass I've modded the sh*t out of. All of them are perfect for me. The most I have been tempted by a boutique bass is by a USA Spector NS2, but 8k isn't worth the name and color options. A Euro LX or a Peavey Cirrus is very likely the most I will ever spend on another instrument, because those sound and play EXACTLY like boutique basses.
Amen to that. Still have my first, a 95 MiM Jazz, bought new. Fender did a particularly good job on that particular bass. Put Bartolinis in it in 98, and it's been my daily driver since. Not flashy, not exotic. Sounds and plays like a dream. Only supplemented it this year with a Stingray, but the Jazz will always be my favorite. Wouldn't dream of trading it for a Dingwall or a Ken Smith or anything at all. It has its own voice.
@@thierry18 I have 3 USA Peavey Cirrus. I just love so much the look of the instrument! One has Labella flats, the other Labella nylon tape wound and one has Elixir round wounds. That’s more than enough for my enjoyment and I get the variety I need for everything I want to play.
I bought a Squire 50’s vibe P bass. It looks like an original P bass ( Tele). I love the look of it but the pickup has the hum they tend to have because of the single coil. So, I put a $ 150 Lindy Fralin replacement pickup. Sounds amazing! $ 425 + $295 ( pickup and set up). Kicks ass! I have mostly standard basses but I have a 7 string Ibanez ( $1000) I consider it boutique on a budget!
When I got my Rick 4003 a few years ago it became my go to bass. Recently, I built a Jazz style bass from various parts and it became my favorite. This bass is all black, with a black body, neck, and hardware. I put in Fender vintage Jazz bass pick-ups. It sounds great and plays beautifully!
I've never owned a boutique bass, but have played a few. Each was extremely wonderful, and a joy to play, but not "my choice". I'm not a big time bassist, but have received a lot of kudos for my playing. I'm an old guy, and back in 1972 I purchased my first Ric 4001. I still have it, and it's STILL my go to bass along with one of my P basses. Personally, I prefer to be able to go to a brick and mortar store, AND PLAY THEM! I'm coming up on 75 years old, now, and I STILL enjoy, "Test Playing" equipment!
After 40 years of playing everything from a cheap dime store bass to a Ricky 4003, my 4 string bolt on Fodera was a revelation. It’s not for everyone, but for me, it was everything.
When ordering my custom Wal sound alike copy most of the infinite options were decided for me already by my desperation to get as close to the sound as possible. My philosophy was follow the Wal recipe as close as humanly possible but with a few subtle tweaks to suit me. Those few subtle tweaks are copying the nut width and fingerboard radius of my Ibanez onto a Wal neck profile and adding a few extra veneers under the fingerboard and body facings. The body shape and headstock are a little different but I've really started to like that because it's not pretending to be something it isn't. In the beginning I wanted an exact look alike too but now I'm actually happier. It's similar enough but looks more refined. It's really important to have a clear goal in mind and an understanding of what you should and shouldn't compromise on in order to get there. It's also a great idea to visit the shop and see examples of their work in advance and here a demo of the product as I have. It's great that Wal don't allow customers to choose the pickups and preamps. They have found their incredible unique sound and because people can't mess with it it makes it easier for other builders to copy it as there's less variation between them than fully custom instruments.
In 1999 I went to the NEC in Birmingham UK for the UK equivalent of NAMM. I stepped onto a stand at the tender age of 12 with a well renowned luthier - Bernie Goodfellow > GB Bases. My dad bought me a GB IV that Bernie used their "test bass" in parismic sparkle over black" , .. I still have it and its still my main bass... I also have gone through the build process with Jon Shuker twice. The price was high but under £2k so justifiable. I don't need 25 basses I own 1 x GB 1 x Shuker 1 X Bitsa Its enough .. Shout out to UK Luthiers GB Shuker Overwater Status Sei Zoot Wal ACG To name but a few Much love for them
I recommend to everyone on this channel including the boys at SBL, Bluesman Vintage. They keep it classic in shapes and sound, but let you get crazy fun finishes and can do other wild things if you have the need. I have 2 and have a custom one coming and i could not be happier.
This is TRUE! I played a MM Sting Ray (79), back in 1981 and vowed to one day own one. Decades and basses pass and I bought a Sterling sub 5 that's great in the studio only, then I bought a Sterling Ray 35 and I don't like it, (string spacing) then I bought a Sterling Ray 34ca which is like the original Sting Ray, it's my favorite of the 3. I do own a custom 1 of 1 boutique jazz bass which I love but, I grav my 2008 passive Squier CV Jazz Bass 1st!
I'd say a lot of Warwick's German basses these days are the boutique ones. Just like Spector USA has their custom shop, both companies have overseas lines for consumer level, but still have their boutique stuff at the top of the line, most of them being one-offs
I've owned 29 or 30 Warwicks (mostly from the 90s), and I love them dearly. Throughout the 90s, they used a wide variety of pickup options such as Bartolini, Duncan, and EMG. Around 1996ish, they started to transition from handcarved bodies to CNC. There's a noticeable difference up close. I would probably consider Warwicks up to the mid-late 90s to be boutique, but by 1999, they were basically mass producing their instruments. Still great basses, for sure. But not boutique in my opinion. But, I do acknowledge that their custom shop makes some basses that are as boutique as it gets. Highly figured woods, hand finishing, etc. Hmm...
Fender has ONE boutique bass; 40th anniversary fender precision custom shop, only made 400. Flame maple top, birdseye neck, ebony fingerboard, brass hardware, kubiki active hardware, P/J pu's, I have number 349, what a fantastic instrument!
I have a Sadowsky Metro. It's made in Japan. The workshop there had only 3-4 craftsmen. It was not a big factory. My Sadowsky feels great and sounds great. It's a workhorse. It can produce a lot of useful sounds and you can use it for pretty much anything from pop, R&B, rock, jazz, gospel, fusion, metal, you name it! It has both active and passive modes. It has a great tone control and active EQ. It does not have the nonsense and unnecessary stuff. I'm very happy with this boutique bass. It's the best of both worlds - boutique and non-boutique in my opinion. I have emailed and phoned Sadowsky a few times and Roger Sadowsky himself answered my calls and replied to my emails.
Agree with all your comments. Versatile tones, excellent build quality and playability for the working musician. I have 2 MIJ Sadowskys. Could be the best of FSO basses.
Hi! Love this video! I’ve been playing for over 30 years and have owned a ton of basses including boutique and “mass production” ones. We can be playing an instrument handed by God himself but still, if the sound/studio engineer doesn’t “cooperate”…. Always remember that the “real” sound comes from your fingers/playing. Everything else is a tool you can absolutely use to you express what’s on your heart. Hope everyone has a gig tonight and enjoy 👍👍
I still have a 1987 "Warwick JD Thumb Bass NT" and a 1997 "Status Stealth 6 strings". I loved them very much, especially the Stealth. They probably can't be considered the same as today's boutique basses but they did their part at the time. "Elegant basses for a more civilized age" :)
Love this episode and agree so much with all your insights. Someone I find really interesting in the context of this conversation is MAI LEISZ, who fairly uniquely seems to often play boutique, active, extended range, "fancy" basses in all sorts of singer-songwriter, rock-Americana contexts -- and she always sounds GREAT and appropriate. An anomaly!
I liked to online window shop at the Bass Centre in London. In their 2nd hand section there was a single cut bass with a Zebrano top made by a luthier in Liverpool whose company was called the 13 Guitar Company. With the beautiful photography they had me. This St Paul 4 string model had gold Hipshot bridge and Ultralite tuners. It had Nordstrand DCs with a Nordstrand 3 band pre-amp it had thin mahogany body and a multi-laminate maple / walnut 24 fret set neck. The headstock was laminated with Zebrano on the front and maple on the back. It was 10 years ago and was listed for £600. In other words the wood was free as there was £600 of hardware and pickups on the bass. Apparently it had been ordered by the moderator of a bass forum and he'd traded it in. Here's the other side of boutique bass cost. If you are prepared to take someone else's dream bass from a lesser known boutique luthier it can actually cost a lot less than you think. You just have to be prepared to take the risk. The bass is a peach.
May I suggest to you guys to try out a Warwick Thumb bass? Preferably a NT 5-string version. Those basses play in their own tone league. Very dominant in the mid range with a distinctive growl.
Warwicks are in a class of their own. They’re probably the most consistent mass produced basses out there. Some of their hallmarks and touches are boutique. Usually use exotic woods, no dead spots. Fully adjustable set up parameters. Very stable necks. And a unique sound
Personally, I think story is key. We get caught up in specs, but ultimately if the cost and story behind your bass journey align, the bass will have so much more value. Got my first bass back in 2002 for $200. One of the first generation dame bass. Still go back to it every week. After getting a steady earning, I’ve tried several different basses, but never really hits the same feel as my first bass. Props to the builders who build boutique basses, but I feel like unless the bass hits you at the perfect time as your journey, it’s gonna end up in a case or put aside. If you are finding something very specific in your journey and you save up for one, it may be perfect for you
Thanks for this wonderful continuation of your talks. For me, these conversations - which used to be the SBL Podcast - and the Campus are the heart and soul of SBL. Though I'm not interested in boutique instruments, this talk is very interesting and insightful to me. I think that the invention of the electric bass is the antipode of the stradivari - the artisan instrument. The electric bass, that is the P-Bass and the Jazz Bass in the beginning, is an intrument that Leo Fender designed for mass production and affordable prices. It is an invitation to the common man and the common woman to enter the fascinating world of musicians. It is Rock'n Roll, the democratization of bohemian art. The fact that after about three decades, a boutique niche of the electric bass began to develop, is a 'good proof of its success. So I think it is a good thing, that there are manufacturers that began to build "stradivari" basses (though I wouldn't buy one of those). At one point Scott says that a boutique bass can inspire you. It can make you play, spend a lot of time with the instrument and thus makes you a better player. I think it is not perfection what inspires us. It is a certain vibe of the instrument which does not come from the way the bass was produced. I think about how Ian sometimes talks about his antigua bass. It is heavy, not balanced and the neck is too thick. But he loves this bass for its vibe, the mood it puts him into. That is the attitude. In the documentary "It Might Get Loud" Jack White says that a crap instrument from the warehouse can make you a better player, because it makes you fight for a good tone every day. A "perfect" instrument can mislead you to think that you don't have to worry about the tone, because the bass is sounding great anyway. Just a few weeks ago I bought my first Fender Bass. I was a bit amused about the gaps between the neck and the body. It is not balanced too. Then I realized that this is one of the copies Fender made of its own 60s instruments between 2001 and 2016 in Mexico. And that is absolutely okay for me. I re-oiled the fretboard, put my favorite strings on it and lowered the action. I know its imperfections and I love it. I want to gather experience with it every day, till I learn to be the player I dream of, and till I learn to make the tone I hear in my head.
So, the lesson to me, it goes down to playability, sound and looks. In my case, my modified Jazz Bazz became my dream bass. I switched electronics to DiMarzio Ultra Bass, I threw a high mass bridge there and did a killer paint job. I did the fine tuning, sanded the back of the neck, and got my dream bass eithout breaking the bank. Feels great, sounds great, loks great. I covet no other bass, haha! I guess I'm one of the lucky ones hehehe
A friend owned one. Sold a pair of MTDs for it and waited something like two years. Within a few months the frets were popping out the side, so it needed to be teched. I don’t think Carl is making his stuff anymore, and the new guys may not know how to properly select wood that’s properly dried. I didn’t ask how much he paid for it….
Scott how could you not mention Alpher. I thought you and Chris were friends. My Cobia is one of the finest basses I have ever played. I know there aee so many builders, but Alpher is at the top of the boutique food chain IMO. Great video, thanks for your content!
Yeah, I was surprised Ian never grabbed the Serek sitting right behind him the whole time! I've had both Roscoe and Serek. Both great, Serek is more my speed.
I have several "boutique" basses, including two Zon fretless basses that were made to order in consultation with Joe himself. Great experience, and Joe is a great dude. My bass amp rig today used to be his shop test rig, actually. He was switching to something different and I happened to be at the shop to talk about one of the basses he built for me. 🤣 I chatted briefly with Mike Tobias when I had a question about my MTD, and he was friendly and helpful. I have some great factory-produced instruments as well, but I certainly loved the experience of talking directly to the luthiers. It's also nice to support a small business owned by a talented craftsman.
45:14 - Hit the nail on the head. This is the key factor I used to tell my customers - You will look at it every day and you will want to pick it up and play it. It doesn't matter if you feel you're not good enough a player for a custom instrument, because the only way to get good is to pick up your instrument and play it.
To be fair, though,,, you guys hit a lot of nails on the head in this vid. Especially the cons. Most players are nowhere near experienced enough to match custom options to their actual needs, or even to express their actual needs to the expert luthier. It's a steep learning curve and a deep rabbit hole. Trust your luthier.
I agree that having an instrument that deeply inspires you is incredibly important. However, I own two basses that are not even remotely boutique (Schecter studio 6 and Ibanez srf705) but I find them very inspiring. In fact, I played the Schecter alongside a very high end US made Spector (one of my favorites) and I genuinely preferred the Schecter. I'd even add to that: I was nervous to even touch the Spector because it was so beautiful. I'm afraid I'd spend more time looking at a bass that is "too beautiful" than I would spend playing it.
@@Mr_Eyeholes Good call and that is the trap with being "hoodwinked" as Scott called it, whether by the fancy wood or the promise of greatness. It's a tricky business. Sometimes it's expensive to learn that inspiration doesn't have to be expensive.
My first fretless and my saddest loss was a 1985 Fender Jazz Bass Special in Burgundy Mist. Stolen from my Jazz trio’s rehearsal space (my fault for leaving it), along with my SWR Redhead and an Alesis Quadraverb. Heartbreaking but a good lesson that I never forgot.
Great to see a podcast video with Scott and Ian just shootin' the breeze. Recenr pods have been great but nice to see you guys just sitting chatting again.
if your company chooses to offer an import line (Japan does not count), personally I think that warrants no longer being “boutique”. it is the idea of someone else building your specs instead of the people who spec’d the guitar building it. that’s how Warwick and other companies can start boutique and become corporate umbrella companies. Parker guitars by Ken Parker and Larry Fishman come to mind. Although I personally still love their guitars and basses even after they sold the company and began importing. 🙏
Genuinely recommend that everyone checks out matsomoku guitars and bass... if you have an old instrument you learnt on and still love, they'll make it sound as good as a luthier made custom anyday... if required they'll do you a re wire, re fret, new pick ups, tuners, better bridge, set up to your taste and specification, they honestly can turn anything into a work of art. If you loved it before, you'll fall in love all over again and never lust over a wal or alembic again. Nb, im not sponsored or anything im just massively impressed with what they do, especially for the price.
A quick note for you legends: 2001 - 2006 Fender made the American Deluxe Zone bass.. I believe this was their foray into the boutique market. I have one and had no idea they existed until I found it for sale on marketplace, It's beautifully built. Only issue is no shielding in the cavity which I've learnt was a common gripe with the few people who had one and some struggled coming to terms with the 18V propriety preamp. It has a 'modern' tone with jazz bass roots (in my humble opinion)..
Electric basses that cost more than say a few thousand really have very diminishing benefits when it comes to how you are going to sound and how well they play. Sorry, but try taking any of these basses out to a live show and see if most people in the audience noitce anything all that different. Nope. Yes, the little attention to details might be nice in some ways but some of the more reasonably priced basses are well made , sound great and can be used in a wide range of situations. .The "boutique" (whatever that really means, is not really going to sound all that much better, or last longer. Far less expensive basses can be set up properly and you can always upgrade various components if it's that important. The prices of these planks is higher than the cost of a pretty good upright (fully carved, but not custom made, upright for say $5K). Find a bass that works, learn everything about its nuances and stick with it. Save your money for lessons with a great teacher who will teach you music.
Expensive instruments aren't for the audience, they're for the owner. That's not a bad thing: if someone has the money, then there's no reason they shouldn't buy something they'll love. We don't grumble at people buying nice cars or houses. You don't *need* a boutique bass, it's a luxury item. Especially if you're playing out and especially especially if you're playing pub and bar gigs - you don't want to risk a beautiful instrument getting bumped, dinged or stolen. When I was younger, I used to think guitars were built for working musicians. Now, I realise most musicians didn't choose music as a career, they make their money elsewhere. That's absolutely fine, they've still earned their money and if they want to buy an expensive living room guitar, then that's fine too.
@@Mikey__R Good points. There is absolutely nothing wrong with buying whatever makes you happy and, more importantly in my mind, whatever makes you play more. I'm just coming from a practical point a view that your actual playing ability or what you really sound like in a mix is not going to be orders of magnitude different compared to using a reasonably good quality off the shelf bass. You will still sound pretty much like you always do. Offhand I would think that having a small number of different basses with different tonal characteristics ( (P, J, rickenbacker, some sort of short scale, some sort of a fretless )) might be more useful than having a super expensive bass. That is probably more useful for recording where you can take the time to craft nuances in the sournd to make your part really stand out. I also disagree with Scott that Fender custom shop is not boutique. Boutique , of course is not well defined so... To me boutique really is just a nice way of saying the bass is going to have some of the following characteritics pretty expensive (more than most off the shelf basses cost, ..say more than $2k-ish), might have some customized options, might be from a small company with limited manufacturing capability, might be a FSO with greater attention to some details or some unique things, might have a very unique quality (size or shape, sound, electronics,etc....) I think Fender Custom Shop fits in here.
Bravo, my friend; well said. Notice what the most notable players are using-Fender, Gibson, Ibanez, Yamaha, and Steinberger. Okay, every now and then you’ll see some Alembics, Sadowskys, and Veillette-Citrons. Amidst the boutiques, the old standbys seem to be holding their ground with very few apologies. Sure, there may not always be appreciable differences in tone while gigging, but serious players are all playability and build quality. You can probably take a 1971 Fender P-Bass, use it as an oar to paddle from Catalina to Long Beach, dry it off, and it’ll still play. Some of those old bass geetars are built like brick 💩 houses. Most of us who have yet to attain rock god status (😆) can’t bluddie afford 5k+ .00 custom wonders. For those of you who can, bless you, and keep an eye on that build. That’s where the money talks.
Sometimes it's about the pride of ownership. Not about showing off but the satisfaction of owning a well crafted instrument that you enjoy playing and the tone which satisfies you.
Fellow bass player from Montana here, and perfect timing as I've been considering a Lull to be my next bass. Quality content, as always, and the insight is greatly appreciated! Perhaps a trip to Seattle to document the 1 of 1 you're having made from start to finish could be in the works?
Ok, I’ll say this as someone who owned a boutique and is now selling it. First for definition of boutique. I think we’ve lost the plot here. I don’t define boutique as “this company is boutique”, but rather “this company produces some boutique instruments “. I know Ian loves Spector but they make basses which are not hand crafted, but they make boutique basses since their custom shop line/masterbuilt basses that are custom to a player. Similar with Warwick AND fender. They can make you an instrument handcrafted fully to your specifications…. Which I would define as boutique. The hairy question of is it worth it… I’d say it depends. Are you a player looking for an Avery specific fit and finish and a very specific sound (and won’t settle for almost), then sure. Can you mod a bass and get a killer setup man plek job to get close… sure. But then there is the ownership aspect in that, you’ve built a relationship with a company that has made an instrument JUST for YOU, and it was made exactly how you wanted it, and you had a say in how it should be done. For me, I own a F Bass VF5-PJ with Alder Ash body and Brazillian Rosewood fingerboard, and I’ve never heard a bass nail Motown and a more traditional tone than that bass, but that’s not really the sound I’m looking for. If I were to try out another boutique, I’d try a more modern sound like a BN, or an MTD that really nails the hifi thing. I’m willing to settle for close enough with a more bad produced instrument so I may likely leave it, but it’s all player preference at the end of the day :)
Great basses. I’ve tried everything over the last…..37 years. Starting with a cheap Cort with p-style pickups, to a little better Cort Jazz style, then to Arias, Fenders, Ibanez, Alvarez, Epiphones, Music Mans, Sire, 4 String, 5 String, 6 String, Humbuckers, Active, Passive…. At the end of the day, and that journey… my main arsenal? 3 Fender P (two with Radioshop pickup installed) and a Music Man (single H). That’s really all that I ever needed.
my Vigier Excess 5 fretted is my main bass. Serves me well in any situation. I also have a Vigier iMetal four string fretless which has got nothing but compliments on the tone. I did have to replace the preamp in the fretless due to it shorting out after some time which is actually rare. I replaced it with a Darkglass tone capsule adding an active/passive switch and absolutely love it. I find myself often leaving it in the passive position with only the volume and pickup blend working.
I think a lot of y’all’s definitions orbited around two points: 1) boutique basses fill a niche and 2) boutique basses are created by enthusiasts and for enthusiasts, in addition to the other points you mentioned. Fenders, Music Mans, and Gibsons, etc, are “industry standards,” the FSOs fill a niche that enthusiasts want from these standards, and the more radical designs are niche from the start. I’d also put companies like Rickenbacker, Warwick, Hofner, Spector, Fender Custom, and Lakland in the “premier brand” category.
I had a similar experience as Ian in the studio. I was one of those bassists who hated Fender P basses until I realized (or was taught by engineer) they were the easist to record with. As for boutique instruments, Maruszczyk is a good consideration because even though Adrian will do basically anything you want, they also have their tried and true "formula" basses. My 5-string Maruszczyk fretless Frog is the only "boutique" instrument that I own and I couldn't be happier. Wait time was about 6 months. Edit: forgot to mention the price is super reasonable, probably one of the best values for quality along with Mayones, in their backyard.
I have a P bass and a “boutique” bass. I love them both but as a sound engineer I disagree with that statement. I’ve heard it countless time too, but in my experience, most sound engineers don’t really mix with their ears but use a set of common rules that have been honed over decades with industry standard instruments, mics and hardware. Basically most engineers just copy the workflow of many famous old records. This means that the moment they have to mix an instrument or a sound that they are not familiar with, the average engineer will have trouble using it and he/she’ll ask to switch to something more “usual”. Tbf, this is also a way to save money and time for the client, since most studio sessions are payed by the hour. While it’s true that “if something works don’t fix it” it’s a good way to approach a business, it’s not good for the arts, because it will lead to stagnation. Any good engineer can mix any type of bass in any type of music, but it requires skills and most of all creativity and artistic vision. After all the 80s were full of records that made history played with non Fender instruments and I’ve never heard anyone complaining about it.
@@Astronometric I admire your ethic. You must be a good engineer cuz I've seen Fenders favored in the studio for 20 years. I started playing in 90s and my favorite basses are definitely not Fenders. But time and time again, the P Bass wins out without really having to do anything to the DI signal. As you know, it's harder to "add" character to an instrument than it is to take away what you don't need. Case in point: the Sadowsky jazz bass is difficult to work with in the mix cuz it has none of the mid range character of the p bass. As Ian would say, "Sounds amazing out there alone on bass island, but doesn't play well with others."
I think of Warwick as a boutique manufacturer in general, at least the old ones (pre-2000). Small player base, immaculate construction (every piece of the thing evaluated and optimized), beautiful woods, amazing sound, identifiable characteristics (Warwick growl), etc.
I fell in love with a Pedulla when I saw one in Boston in the early 80's and bought my Buzz in '86 and my MVP a year later. One's black, one's blue semi-metallic that Mike Pedulla hooked me up with after it came off the road as a sales sample and was in a local shop. Still play them both and am constantly surprised when no one mentions them, and the Buzz's in particular. The sound of that bass is so distinctive. Only bass I've played that was better was a '77 Series I Alembic that I had to sell because I'm too old to hold up a 13 pound bass any more. I guess I'm 0 for 2 with you guys. LOL
I had an ‘88 Pedulla MVP that I part exchanged against a Wal Custom. The only positive from that transaction was that the friend I later sold the Wal too loves it. I realised that I much preferred the Pedulla, although a have played a few I thought were a bit meh.
Ian speaking about “bass island” was so true, a bass can sound so killer n your own jam space, but take it to the studio and you just can’t get it to sit well, also to mention, if you show up to a session with a bass that a producer is familiar with, you will be saving time and money, that can be spent on the singer getting his tracks down better or anything
Boutique hw dies not make a bass boutique... Especially quite basic model, tho not bad ( i like no thick coat there actually, seemed to resonate so nicely and open).
@@WakizashiSabre you fell for my trap. I was joking. At the same time I agree, the resonance is very good accoustically. I'm wondering if this really matters for electronic instruments. It does play very well with a good setup also.
Fantastic video, guys! This is wisdom so many bass players (me included) often learn way too late: don’t fall for myths! The look or the brand doesn’t necessarily equal the sound you want. One man’s trash can really easily be another’s treasure and vice verca, but I guess it has to come with hard experience. Luckily I started with the P Bass, so I always come back to it no matter how much I experiment with sound or style, which I love to do, but y’know… I think it’s a reason most players end up with a p or a jazz if they started with it or find it along the road, don’t you? But as you said at the end: it’s your own journey. You should enjoy it on your own terms.
Loved the show. But also MTD makes some budget basses with the Kingston series (I own one and it’s for sure not boutique). I would still consider MTD to be boutique.
I did a 100% made to order custom shop built with Warwick and it was everything I could have wanted it to be! In my humble opinion, there isn’t a sound I can’t dial in with it (between all the controls and changing my playing style). I have other basses, but that’s my desert island bass and it will be with me until I die.
It cracks me up every time I see Bulbasaur and Squirtle in the background of Ian's stream! You guys are great. Love the information you guys give. Been watching you forever.... Keep it up!
I agree with you guys. Boutique happens to be a French word for "a very small shop". Warwick is a good example : first years were definitely boutique. I remember them coming to our local shop and we guys being astonished by them woods... Boutique got to be small scale!!!
Speaking of mass-produced basses that leave the factory with a, shall we say, indifferent setup, is that it helps to have a music shop that will do a decent setup and correct minor flaws. My favourite shop will do a complete setup within a year of purchase so you have plenty of time to determine even quite small things you want corrected. The other value of casual manufacturer setups, if that's reflected in the price, is those who can do their own adjustments are almost paid for their time to personally optimise the instrument.
Brilliant video. My definition of boutique would also include the type of people working, as well as the quantity; bigger builders have a lot of unskilled workers on an assembly line, whilst every boutique builder I've interacted with has had skilled craftspeople at every point of the construction; also, the guy whose name is on the headstock is usually heavily involved in the day-to-day operations of the company; it's also felt that quality has been the driving force behind the business, not profitability. I was surprised Stenback didn't get a mention; his "FSOs" are brilliant. Other honourable mentions: Carl Thompson, Elrick, Nik Huber (for his Rietbergen shortscale), Aleš Vychodil, ACG, Sei, Mas Hino (formerly of Olinto and Atelier Z), and Manson, but having said that, I'm exclusively playing Smiths, Overwaters and Alleva Coppolos right now.
I've built two bass guitars from scratch. The first wasn't fantastic; my experience of building the second one, was that the setup and playability were baked in as part of the construction process, at least as far as my limited experience allowed. Because whoever is building your guitar is building it either by itself or in a small batch, they're able to make these small course corrections as they go along. Contrast with factory built guitars, the factory has a strict process, a rigid recipe and no scope for creative problem solving along the way. A bass that fails QC will be scrapped rather than reworked as that's cheaper. The quality happens after the fact, at discrete points at various gates along the production line; unlike with a hand built guitar, where the quality will be kept high all throughout.
I've purchased 3 boutique basses.... on disappointed me 100%, another one was good ( a custom built 7 string so - lesson learned), and one is awesome and is my main bass
I personally think a "boutique bass" is one made by a shop where the majority of building is done by hand by one or just a few builders. We're talking about builders that sell less than 1000ish instruments a year, employ a small team of employees & build to order. Also, if they make a "cheap" Chinese or Indonesian made "production" model, then they start to lose the "boutique" builder feel (Sadowsky, Lakland, Spector, etc).
This is a great topic for me because I’m not made of money and I’m not (currently) making any money playing bass, but I’m considering a boutique bass. The pluses, to me, are getting something made exactly to my specs; pickups, woods, shape, scale, etc. But the worry is waiting all that time, going through all the stress, spending what is, to me, a LOT of money…only to be disappointed in the end result. Also, I’ve lived long enough to see some of my favorite manufacturers shut down; Status, Pedulla, Modulus. Even the original Tobias basses. So the ones I really love - as an example, Fodera - are super pricey and the wait is measured in years. In the end, although no decision has been made, I find myself leaning toward more non-boutique basses.
You should give Mayones basses a look! I have 3 and I love them! They are handmade in Poland. In my opinion, they have Fodera quality without the NYC overhead! Much more for your money! Good luck!
Mayones are badass, I want a Viking 5 badly. I own a custom order Maruszczyk 5 string fretless that's right in the same ballpark as Mayones. From order to delivery was lightly less than 6 months.
Hi there, I got my Alembic Rogue 4 string in 1997 and my LeFay Capone 5 String Reiner and Meik built for me two years ago (with only a little piece of porn wood on the headstock - the rest of the instrument is built from straight maple and Ash - it only weighs 4.1 kilos). Both instruments definitively are boutique basses! Regarding build quality, playability and sound versatility you really notice a big difference compared for example to my Cort fan fret 5 string. The electronics of the Alembic are amazing - so versatile and great sounding.
I have a Fender Customshop, and never considered it boutique, but to be fair the customshop is only 13 builders. That is more boutique-y than expected. I love my bass so much!
That IMA Dunn bass sounds killer indeed. I went the boutique way, have been a P bass guy my whole playing life but wanted something with more playability whilst maintaining the sound. Viv Wilcock was my go to, and my chambered 4P-51 is an absolute joy to spend the hours with. Great experience all around. There will be a short scale 5 string in my life in the near future, and i've boiled it down to a Wilcock or Vuorensaku.
the best boutique instrument is the one that fit you as a player perfectly. i have expensive jazz bass, xotic and sadowsky but i was never satisfied with them. the sadowsky played as good as my squier so i couldn't justify the price and the xotic had a lot of issue ( neck, electronic, fret heigh etc ). for me its my Cort C5+. came in perfect setup, the neck shape fit my hand perfectly (flat profile). the sound also is more me ( really bright, mtd like ) and its also cheap, 500 euro that's it. at the end of the Day, you could buy a super expensive smith or moolon but if its not your sound and if the string spacing and neck profile don't fit your hand well, then its not for you.
My main is a completely one off Fender Custom Shop. Every little piece picked out by me. The woods, the color, the pickups and configuration, the bridge, everything. Picked it up from the Fender HQ in Corona, from the guys themselves. And then Scott just rolls in “Fender can’t be boutique…” Soul. Crushed. But I get it. Still cried a little. But I get it.
Scott really needs to learn the word 'they' 😂 "he... or she!". Anyway, I'm loving the videos! It's keeping me inspired and I'm playing more and more bass because of SBL. The platform has been massively contributing to my overall happiness. Thank you guys! ❤
I have a Yamaha trb4p from 1989, and it is ALL THE WAY a boutique bass : active electronics, fancy woods, flame maple top, gold hardware, sandwich construction, neck thru, ebony 24 frets fingerboard, and even with a piezo pickup ! The sound is ultra clear, with a piano-like definition and sustain for hours, so in the end the one and only non-boutique thing is the Yamaha logo on the headstock...
Again agreed with the "feel the room" thing. I have the stuff. But when I had the chance to buy a 4 string fretless Imperial I bought an octaver and transfered all my fretted 5 string stuff to the fretless 4. This bass is THE ULTIMATE 😂😂😂 BTW, put a Mike Pope pre in any instrument and make it boutique 😂
I’ve absolutely experienced what Ian went through in the studio. “Weird bass guy on bass island”. 🤣 On a much more basic level, an old bandmate once said to me “I don’t know why you bring all these other basses, that one sounds way better” (pointing to my old Rick). That really was a wake up, that someone else thought so too.
I love boutique basses‼️ Also a small boutique builder who needs more attention is enrico pasini and wood and tronics basses. The wood and tronics stuff has the most badass single cut shape I’ve seen. He used to work for fodera and is based in italy
I recently bought a Ibanez BTB 5-string. Well crafted, beautiful finish, plays very well and wasn't that expensive. Also have a 6-string SGS Bass Collection which is quite rare and plays fantastic (never selling that one...) and a 6-string Mark Tobias (before it became MTD). Also really good but a bit heavy.
Best bass in my stable is a mid level Yamaha, far cry from my boutiques. My dad heard me playing it acoustically from the other room in the shop and suggested I buy it. I agreed and I did. It has payed for itself ten times over and keeps my custom basses safe at home for when I need to feel fancy.
After playing for about 3 years on a 4-string Cort PJ bass, I wanted to upgrade to a 5-string, more specifically a Fodera Imperial. Unfortunately, I couldn't afford it (and still can't). I ultimately decided to build a clone from scratch. Took me 6 months to make, but I've been playing the 5-string bass for the last 3 years after completing it, and I'll never trade it for anything else.
Mate, you don't need a Fodera. It's honestly a very overrated brand. Yeah sure they make great basses but in my opinion they do not justify the price range they are marketed at. I've played numerous Foderas and even owned a couple, and while they certainly aren't bad bass guitars, they also certainly don't give the feeling that those were the best 10k€ I've ever spent in my life.
Sure I could say that to comfort myself and to show off that I in fact do have an original Fodera and blah blah, but we know what this is all about. Accounting for inflation, 2-3k€ range is where you will find bass guitars that are the pinnacle of professional bass playing and will never need to ask for anything more.
My point is, you did a good thing by going your own way, you have very likely learned muuuuch more doing your own clone than you ever would by dropping 10k on an og Fodera.
@@blastmanutz7798 To you maybe, but there are many Fodera players that will disagree, myself included :)
@@bassfunkypenguin I know, people will defend their invested money by all means, I'm just speaking the truth. :)
@@blastmanutz7798 Your truth :)
There is definitely nothing like building a clone yourself. I have built a FSO strat shaped short scale pj that I adore and am building a 34" scale 4 string neck through.
I love the personal touch of building them.
To Scott and Ian...
I don't know if you guys actually read all the comments but hoping you do because i want to let you know that at 75 years old one of the few things that bri g me joy is playing bass in my band. And to see how much you two love what you're doing is incredibly heartwarming. I play a wide variety of instruments but none produce the joy of a well crafted and played bassline. Thank you for sharing your passion.
Thanks for sharing that with us! 🧡🧡🧡
Years ago when I called Fodera, they didn’t seem to want my business. Later on while working with the Greek band Annabouboula; I went looking for a five string because I wanted a low b. Every bass I tried sucked. Then I was informed that the Queens Sam Ash store had a six string that I should try. I didn’t want a six string but I hopped on the subway anyway. I loved that bass but it took several months before I pulled the trigger. It is my Ken Smith BT6G. What an amazing instrument, as is my 1979 Alembic Omega Series II.
And “Jenny my 1971 Fender Jazz Bass which I got in 1971 when I was 12 years old.
And later I’ll tell you my BT6G at a blues jam story 😂😂😂
Love your channel❤️❤️❤️
I find your Ken Smith acquisition story interesting.
I had a meat and potatoes custom bass built for me - being a lefty by Mike Lull around 2007. No pre amp electronics it was just a great passive thing of of beauty. He was very accommodating and sent me a picture with the bass and him building it.
❤
@@MikeLullCustomGuitars I brought in a Jackson rhoads from the early 90’s for you guys to take a look at. I played one of the Mike Lull basses while you guys did your thing. Someone even brought me a cord to plug it in. Played like butter. Sounded great. So nice. What a great experience I had there. Everyone was so kind.
I'm surprised you guys didn't mention Carl Thompson Basses. Also Just as a side note, Fender definitely releases some wildly boutique custom basses from their shop. $10,000.00 dollar range. Wyn basses are amazing too.
It's a sliding scale, in general not mass-produced, the more custom and the more the client is involved in the process, the more special it becomes. Then the people working on it, are they proper craftsmen, or some people on the assembly line. The quality of the workmanship, the time spent, the quality of the hardware, ... Price is only a reflection of all of that. And you can get 'hand-made' instruments for under £2K, which are absolutely fantastic and unique (and I did).
i love how chill this style of video is, more of it pls !
Lots more to come!
It truly was a fun video. And I love the content also.
Find a smaller sale boutique builder...I went to Jon shuker up in the peak district, derbyshire as I only live 20 minutes away. Best service and one on one ever... and the most gorgeous , personal bass, with the best top features and woods at a much lower price than another UK builder I used years ago. What a great experience for my 50th birthday present. You rock Jon!!! And on the other hand, I only ever gigged with my £250 squier 70s p bass.
Jon makes some fantastic instruments and great prices, his build gallery on his site is stunning!!
I completely agree with Scott’s criteria regarding what qualifies as a boutique bass. I have 3 Mayones basses that I definitely consider boutique.
heavily agree with this. My Mayo Jabba V fret is about as perfect a bass playing experience as I've ever had.
Mayones are really interesting and on the borderline. I have a Mayones guitar, a Regius 7 (neck through), my choice of wing material, number of strings, colour and finish, pickups, fingerboard material, scale length, bridge and tuners. But at the same time there's plenty of a batch work and they optimise their process with CNC equipment, etc. But that is my guitar, there is no other like it, and that's definitely boutique experience. And I think a lot of people don't realise when they see a Mayones on the wall, that the shop or the local distributor most likely made those choices.
@@rustythoughts 100%...it's no coincidence that those instruments that the stores spec normally turn out to be amazing, they know what they're doing when they order them 🤷🏻♂️
Yep. Same.
Mayonnaise are definitely boutique or at least pressed right up against it. I feel bad calling them Mayonnaise but it makes me feel better about not being able to own one. 😅
I'm more of a metalhead, and so while I love your advice and banter and enthusiasm for all things bass, I often disagree with you on esthetics and matters of personal taste. That said, that custom Spector was sooooo beautiful. Thank you for showing me!
Thank you Scott and Ian. I have played Kiesel basses for years. They have an academic approach to bass building and their measurements are precise. The best part for me, being a lefty, is that I have a unique bass with body woods, neck woods, and fretboard woods that I chose. I love my Kiesel however I still love my old ass Fender Precision. I feel lucky and I hope everyone reading this does also.
I own a wonderful boutique 6-string built by a young solo luthier, an instrument that is a beautiful work of art in addition to being a wonderful instrument to play. (Xylem Bass) In addition to the positives, I appreciated Ian’s nod to supporting business. Seeing how hard it is for a young person to develop the luthier craft has made me an advocate for, if you are able, supporting small luthiers.
I had to comment on the part about boutique basses forcing you to get your stuff together.
I've never had a boutique bass but my second was a massive jump in quality from my first. My first was a 4 string PJ style not even squire but like a dquire knock off, it was $150 Canadian. The second bass I got was a 6 string for $760 canadian (for band class, a lot of parts I was being given went either below a 4 strings range, or a little above, but mostly below. Also not that we were rich my parents financed that thing for like 5 years they just were happy I found something I was so committed to.) And every little deficiency in my playing showed, I had to completely rethink and be a million times more attentive to how I was plucking and had to focus so much more on smoothly moving my fingering hand to not get that zipper sound over the Amp, and ofcourse muting cause ofcourse 6 strings. It felt like a monster to handle for atleast half of that school year.
Pedulla started out boutique, as a one man shop. He eventually hired on help and did a mass produced line, and hated all of it. So, he dropped all of that, and ultimately made every bass with his own hands until he retired.
I regret selling mine, for sure.
MV Pedulla are certainly boutique. But first? Eh. Alembic was doing it before him.
@@pmdinaz I started out with a Rapture J2-5. I bought it used, and fell in love with it. I sold my Warwick fretless and other bass I had along with several amps to get a Pentabuzz. Then I got a second Rapture 5, only with the PJ configuration. I feel like I'm set, honestly. If I could buy one additional bass, it would probably be a Rob Allen Deep 5, or something with that tonal envelope. The Pentabuzz is great, and I absolutely adore it. But it wants to be exactly what it was designed to be--a boutique Jaco bass. It doesn't pretend to be anything else.
The one takeaway from this video that really resonates with me is "You might sound worse if you get the bass you want." That was definitely the case with the Pentabuzz. It took me weeks to sound good on that bass, versus the Warwick I had before it. Every flaw in my technique was suddenly amplified.
@@805private9 I phrased that badly. Mean to say "started out." I'm well aware of the history--I'll correct it. Thanks.
@@805private9 Hey, thanks for catching that. I just worded it poorly. Meant to say "started out" boutique...thanks.
I think for some companies depending on which line they offer they could be considered "boutique". Warwick production basses vs their "master built" line. Regarding CNC I actually had the opportunity to tour a shop, not sure I should mention the brand here but they outsourced the bodies then finish sanded and painted in house. The necks were made by hand. Even the radius work on the fingerboard was manual against a belt sander by a guy who had been doing that for decades. Grand total of eight people would be touching that instrument from start to finish.
Great Video! 3 great topics you hit head on.
"Bass Island" I have several boutique basses and when I'm in my practice room, they are epic. All of these beautiful overtones and beautiful attack.. Then I take it to a gig and the rest of the band washes out all of those amazing tones with their kick drums, symbols and distortions. As you said , it's all about knowing the room and fitting into the mix.
You made a comment about recorders/producers. I would not call my self a recording veteran, but IMO most of the guys in the recording studio really don't know how to record bass and if they do its one specific bass. "Just go direct and don't worry I have all of the plugins." I have spent all my life dialing in a great tone and all they need to do is just plant the right mic somewhere and record it. I realize that is way easier said than done. But still, you would hope it is a talent that they would learn to perfect.
"Everyone needs more basses" Well, I tried to use your quote on my wife and the answer was "No sex tonight"
One last comment when it comes to boutique basses, I do enjoy my multi-laminate, multi-string active basses. But I am really a P-bass guy. I have not just played, but owned virtually every high end, non-made-in-Asia, P-bass. And I have never held onto one for more than 6 months. I have a few trusty vintage P's that sound so much better, that half way through a set I am daydreaming, wishing I left the boutique P-bass at home. I am not saying that every old Fender kissed by Leo himself is epic, because there are plenty of duds from the 50s, 60s and 70s, but when you find a great sounding one, its a totally new experience. Personally the two best sounding Fenders I own are from the early 70s ,not my older ones. Not because 70s Fenders are the best, but I just because I happened to stumble on a good piece of wood that has been played for a long time.
Keep up the great work!
I know when I finally got to a point in my life where I could buy a "boutique bass" I got a Serek Midwestern and it took a year to get and I absolutely fell in love with it. I still can't put it down when I get off work. I am playing it while I watch this! For what it's worth, I think what constitutes a boutique bass is some sort of equation having to do with shop size, reputation, and specifically without being a major brand name with mass production methods.
The definition of "boutique" is quite similar to the definition of "indie."
I think you could say something like Fender Custom Shop is a boutique operation subsidized by the main production lines. A company like Fender is big enough to offer instruments for all customer categories. With Custom Shop, they can make a small number of instruments targeting the boutique market while also cranking out entry level instruments.
Here’s a pretty major boutique bass con that many don’t think about:
Incredibly unstable/unpredictable resale value. You can pay a ton of cash for an amazing instrument built buy a really talented luthier, but if you ever change your mind and wanna sell it down the line you now have to contend with whether or not people know/respect them, or if anybody actually likes your specific configuration enough to pay close to what you paid. This just isn’t the case when you buy an off the shelf instrument at any price point. So ultimately you gotta buy a boutique bass you’re REALLY convinced about because once you’re past that return period, you might be stuck with it
Note: this obviously applies less so with the more known boutique makers like Fodera, Ken Smith or F-Bass but is still somewhat relevant even then
It's all about what you fall in love with truly. It could be a 200$ Squier,a 9K Wal, or even both! Depends also on what you as an individual like in terms of sound and aesthetics.
The three best necks I've ever played were on a Sire p7, a Lakland semi-hollow, and a USA Peavey (a rare model, I can't recall the name now though).
However, I only have 3 basses right now: A Spector NS Pulse II 5, A gretsch g2220, and an Amazon brand p-bass I've modded the sh*t out of. All of them are perfect for me.
The most I have been tempted by a boutique bass is by a USA Spector NS2, but 8k isn't worth the name and color options. A Euro LX or a Peavey Cirrus is very likely the most I will ever spend on another instrument, because those sound and play EXACTLY like boutique basses.
Amen to that. Still have my first, a 95 MiM Jazz, bought new. Fender did a particularly good job on that particular bass. Put Bartolinis in it in 98, and it's been my daily driver since. Not flashy, not exotic. Sounds and plays like a dream. Only supplemented it this year with a Stingray, but the Jazz will always be my favorite. Wouldn't dream of trading it for a Dingwall or a Ken Smith or anything at all. It has its own voice.
@@thierry18 I have 3 USA Peavey Cirrus. I just love so much the look of the instrument! One has Labella flats, the other Labella nylon tape wound and one has Elixir round wounds. That’s more than enough for my enjoyment and I get the variety I need for everything I want to play.
@@thierry18 Peavey Palaedium?
I bought a Squire 50’s vibe P bass. It looks like an original P bass ( Tele). I love the look of it but the pickup has the hum they tend to have because of the single coil. So, I put a $ 150 Lindy Fralin replacement pickup. Sounds amazing! $ 425 + $295 ( pickup and set up). Kicks ass! I have mostly standard basses but I have a 7 string Ibanez ( $1000) I consider it boutique on a budget!
When I got my Rick 4003 a few years ago it became my go to bass.
Recently, I built a Jazz style bass from various parts and it became my favorite. This bass is all black, with a black body, neck, and hardware. I put in Fender vintage Jazz bass pick-ups. It sounds great and plays beautifully!
I've never owned a boutique bass, but have played a few. Each was extremely wonderful, and a joy to play, but not "my choice". I'm not a big time bassist, but have received a lot of kudos for my playing. I'm an old guy, and back in 1972 I purchased my first Ric 4001. I still have it, and it's STILL my go to bass along with one of my P basses. Personally, I prefer to be able to go to a brick and mortar store, AND PLAY THEM! I'm coming up on 75 years old, now, and I STILL enjoy, "Test Playing" equipment!
After 40 years of playing everything from a cheap dime store bass to a Ricky 4003, my 4 string bolt on Fodera was a revelation. It’s not for everyone, but for me, it was everything.
🧡🧡🧡
When ordering my custom Wal sound alike copy most of the infinite options were decided for me already by my desperation to get as close to the sound as possible. My philosophy was follow the Wal recipe as close as humanly possible but with a few subtle tweaks to suit me. Those few subtle tweaks are copying the nut width and fingerboard radius of my Ibanez onto a Wal neck profile and adding a few extra veneers under the fingerboard and body facings.
The body shape and headstock are a little different but I've really started to like that because it's not pretending to be something it isn't. In the beginning I wanted an exact look alike too but now I'm actually happier. It's similar enough but looks more refined. It's really important to have a clear goal in mind and an understanding of what you should and shouldn't compromise on in order to get there. It's also a great idea to visit the shop and see examples of their work in advance and here a demo of the product as I have.
It's great that Wal don't allow customers to choose the pickups and preamps. They have found their incredible unique sound and because people can't mess with it it makes it easier for other builders to copy it as there's less variation between them than fully custom instruments.
An off the shelf bass that has your tone for the studio and then crazy custom shops for live
In 1999 I went to the NEC in Birmingham UK for the UK equivalent of NAMM. I stepped onto a stand at the tender age of 12 with a well renowned luthier - Bernie Goodfellow > GB Bases. My dad bought me a GB IV that Bernie used their "test bass" in parismic sparkle over black" , .. I still have it and its still my main bass...
I also have gone through the build process with Jon Shuker twice. The price was high but under £2k so justifiable.
I don't need 25 basses I own
1 x GB
1 x Shuker
1 X Bitsa
Its enough ..
Shout out to UK Luthiers
GB
Shuker
Overwater
Status
Sei
Zoot
Wal
ACG
To name but a few
Much love for them
I recommend to everyone on this channel including the boys at SBL, Bluesman Vintage.
They keep it classic in shapes and sound, but let you get crazy fun finishes and can do other wild things if you have the need.
I have 2 and have a custom one coming and i could not be happier.
This is TRUE! I played a MM Sting Ray (79), back in 1981 and vowed to one day own one. Decades and basses pass and I bought a Sterling sub 5 that's great in the studio only, then I bought a Sterling Ray 35 and I don't like it, (string spacing) then I bought a Sterling Ray 34ca which is like the original Sting Ray, it's my favorite of the 3. I do own a custom 1 of 1 boutique jazz bass which I love but, I grav my 2008 passive Squier CV Jazz Bass 1st!
I'd say a lot of Warwick's German basses these days are the boutique ones. Just like Spector USA has their custom shop, both companies have overseas lines for consumer level, but still have their boutique stuff at the top of the line, most of them being one-offs
Warwick's are terrible, yuuck!
@@niklaswikstrom78 you clearly haven't owned as many as I have or at least not a nice German one, they have a lot of phenomenal basses
@@ImJustStandingHere 😑
I've owned 29 or 30 Warwicks (mostly from the 90s), and I love them dearly. Throughout the 90s, they used a wide variety of pickup options such as Bartolini, Duncan, and EMG. Around 1996ish, they started to transition from handcarved bodies to CNC. There's a noticeable difference up close. I would probably consider Warwicks up to the mid-late 90s to be boutique, but by 1999, they were basically mass producing their instruments. Still great basses, for sure. But not boutique in my opinion. But, I do acknowledge that their custom shop makes some basses that are as boutique as it gets. Highly figured woods, hand finishing, etc. Hmm...
Fender has ONE boutique bass; 40th anniversary fender precision custom shop, only made 400. Flame maple top, birdseye neck, ebony fingerboard, brass hardware, kubiki active hardware, P/J pu's, I have number 349, what a fantastic instrument!
I have a Sadowsky Metro. It's made in Japan. The workshop there had only 3-4 craftsmen. It was not a big factory. My Sadowsky feels great and sounds great. It's a workhorse. It can produce a lot of useful sounds and you can use it for pretty much anything from pop, R&B, rock, jazz, gospel, fusion, metal, you name it! It has both active and passive modes. It has a great tone control and active EQ. It does not have the nonsense and unnecessary stuff. I'm very happy with this boutique bass. It's the best of both worlds - boutique and non-boutique in my opinion.
I have emailed and phoned Sadowsky a few times and Roger Sadowsky himself answered my calls and replied to my emails.
Agree with all your comments. Versatile tones, excellent build quality and playability for the working musician. I have 2 MIJ Sadowskys. Could be the best of FSO basses.
Hi! Love this video! I’ve been playing for over 30 years and have owned a ton of basses including boutique and “mass production” ones. We can be playing an instrument handed by God himself but still, if the sound/studio engineer doesn’t “cooperate”…. Always remember that the “real” sound comes from your fingers/playing. Everything else is a tool you can absolutely use to you express what’s on your heart. Hope everyone has a gig tonight and enjoy 👍👍
That IM4 is a really tasteful piece of rock gear. Really suits you too, Ian.
🙏🏼🙏🏼
❤
I still have a 1987 "Warwick JD Thumb Bass NT" and a 1997 "Status Stealth 6 strings". I loved them very much, especially the Stealth. They probably can't be considered the same as today's boutique basses but they did their part at the time.
"Elegant basses for a more civilized age" :)
Love this episode and agree so much with all your insights. Someone I find really interesting in the context of this conversation is MAI LEISZ, who fairly uniquely seems to often play boutique, active, extended range, "fancy" basses in all sorts of singer-songwriter, rock-Americana contexts -- and she always sounds GREAT and appropriate. An anomaly!
I liked to online window shop at the Bass Centre in London. In their 2nd hand section there was a single cut bass with a Zebrano top made by a luthier in Liverpool whose company was called the 13 Guitar Company. With the beautiful photography they had me. This St Paul 4 string model had gold Hipshot bridge and Ultralite tuners. It had Nordstrand DCs with a Nordstrand 3 band pre-amp it had thin mahogany body and a multi-laminate maple / walnut 24 fret set neck. The headstock was laminated with Zebrano on the front and maple on the back. It was 10 years ago and was listed for £600. In other words the wood was free as there was £600 of hardware and pickups on the bass. Apparently it had been ordered by the moderator of a bass forum and he'd traded it in. Here's the other side of boutique bass cost. If you are prepared to take someone else's dream bass from a lesser known boutique luthier it can actually cost a lot less than you think. You just have to be prepared to take the risk. The bass is a peach.
May I suggest to you guys to try out a Warwick Thumb bass? Preferably a NT 5-string version. Those basses play in their own tone league. Very dominant in the mid range with a distinctive growl.
Warwicks are in a class of their own. They’re probably the most consistent mass produced basses out there. Some of their hallmarks and touches are boutique. Usually use exotic woods, no dead spots. Fully adjustable set up parameters. Very stable necks. And a unique sound
Personally, I think story is key. We get caught up in specs, but ultimately if the cost and story behind your bass journey align, the bass will have so much more value.
Got my first bass back in 2002 for $200. One of the first generation dame bass. Still go back to it every week. After getting a steady earning, I’ve tried several different basses, but never really hits the same feel as my first bass.
Props to the builders who build boutique basses, but I feel like unless the bass hits you at the perfect time as your journey, it’s gonna end up in a case or put aside.
If you are finding something very specific in your journey and you save up for one, it may be perfect for you
Thanks for this wonderful continuation of your talks. For me, these conversations - which used to be the SBL Podcast - and the Campus are the heart and soul of SBL.
Though I'm not interested in boutique instruments, this talk is very interesting and insightful to me.
I think that the invention of the electric bass is the antipode of the stradivari - the artisan instrument. The electric bass, that is the P-Bass and the Jazz Bass in the beginning, is an intrument that Leo Fender designed for mass production and affordable prices. It is an invitation to the common man and the common woman to enter the fascinating world of musicians. It is Rock'n Roll, the democratization of bohemian art.
The fact that after about three decades, a boutique niche of the electric bass began to develop, is a 'good proof of its success. So I think it is a good thing, that there are manufacturers that began to build "stradivari" basses (though I wouldn't buy one of those).
At one point Scott says that a boutique bass can inspire you. It can make you play, spend a lot of time with the instrument and thus makes you a better player. I think it is not perfection what inspires us. It is a certain vibe of the instrument which does not come from the way the bass was produced. I think about how Ian sometimes talks about his antigua bass. It is heavy, not balanced and the neck is too thick. But he loves this bass for its vibe, the mood it puts him into. That is the attitude.
In the documentary "It Might Get Loud" Jack White says that a crap instrument from the warehouse can make you a better player, because it makes you fight for a good tone every day. A "perfect" instrument can mislead you to think that you don't have to worry about the tone, because the bass is sounding great anyway.
Just a few weeks ago I bought my first Fender Bass. I was a bit amused about the gaps between the neck and the body. It is not balanced too. Then I realized that this is one of the copies Fender made of its own 60s instruments between 2001 and 2016 in Mexico. And that is absolutely okay for me. I re-oiled the fretboard, put my favorite strings on it and lowered the action. I know its imperfections and I love it. I want to gather experience with it every day, till I learn to be the player I dream of, and till I learn to make the tone I hear in my head.
To me the difference is mainly in details, setup., personalization, ingredients and first of alll LOVE in the craft ❤️
So, the lesson to me, it goes down to playability, sound and looks.
In my case, my modified Jazz Bazz became my dream bass. I switched electronics to DiMarzio Ultra Bass, I threw a high mass bridge there and did a killer paint job. I did the fine tuning, sanded the back of the neck, and got my dream bass eithout breaking the bank. Feels great, sounds great, loks great. I covet no other bass, haha! I guess I'm one of the lucky ones hehehe
When i got my Smith, it was set up perfectly. Never had to adjust neck, string height, intonation etc. Still as great today as it's first day.
I look forward to these videos every week. You guys are the best!
Carl Thompson is a definitional example of a “boutique” bass maker.
Artisan.
Barely functional in a musical setting butbeautiful in design.@@peopleareloudmovers
A friend owned one. Sold a pair of MTDs for it and waited something like two years. Within a few months the frets were popping out the side, so it needed to be teched. I don’t think Carl is making his stuff anymore, and the new guys may not know how to properly select wood that’s properly dried. I didn’t ask how much he paid for it….
45 years playing...the two of you are amazing...I think you guys are some of the best players around...too cool...
Cheers for that!! Appreciate it!
You guys crack me up! Love your chemistry and approach to the channel. One of my top favorite shows on YT ❤
🧡🧡🧡
Scott how could you not mention Alpher. I thought you and Chris were friends. My Cobia is one of the finest basses I have ever played. I know there aee so many builders, but Alpher is at the top of the boutique food chain IMO. Great video, thanks for your content!
Alpher make fantastic instruments! There are a lot of great makers not mentioned, because we would have been here forever!!
@@devinebass I know there are, I was just messing with you! Keep up the great work:)
Two other USA companies that are worth considering and are "boutiguey" (one newer and one older): Serek basses and Roscoe (Keith Roscoe).
Both are great builders for sure!
Yeah, I was surprised Ian never grabbed the Serek sitting right behind him the whole time! I've had both Roscoe and Serek. Both great, Serek is more my speed.
I have several "boutique" basses, including two Zon fretless basses that were made to order in consultation with Joe himself. Great experience, and Joe is a great dude. My bass amp rig today used to be his shop test rig, actually. He was switching to something different and I happened to be at the shop to talk about one of the basses he built for me. 🤣 I chatted briefly with Mike Tobias when I had a question about my MTD, and he was friendly and helpful. I have some great factory-produced instruments as well, but I certainly loved the experience of talking directly to the luthiers. It's also nice to support a small business owned by a talented craftsman.
45:14 - Hit the nail on the head. This is the key factor I used to tell my customers - You will look at it every day and you will want to pick it up and play it. It doesn't matter if you feel you're not good enough a player for a custom instrument, because the only way to get good is to pick up your instrument and play it.
To be fair, though,,, you guys hit a lot of nails on the head in this vid. Especially the cons. Most players are nowhere near experienced enough to match custom options to their actual needs, or even to express their actual needs to the expert luthier. It's a steep learning curve and a deep rabbit hole. Trust your luthier.
I agree that having an instrument that deeply inspires you is incredibly important. However, I own two basses that are not even remotely boutique (Schecter studio 6 and Ibanez srf705) but I find them very inspiring. In fact, I played the Schecter alongside a very high end US made Spector (one of my favorites) and I genuinely preferred the Schecter.
I'd even add to that: I was nervous to even touch the Spector because it was so beautiful. I'm afraid I'd spend more time looking at a bass that is "too beautiful" than I would spend playing it.
@@Mr_Eyeholes Good call and that is the trap with being "hoodwinked" as Scott called it, whether by the fancy wood or the promise of greatness. It's a tricky business. Sometimes it's expensive to learn that inspiration doesn't have to be expensive.
My first fretless and my saddest loss was a 1985 Fender Jazz Bass Special in Burgundy Mist. Stolen from my Jazz trio’s rehearsal space (my fault for leaving it), along with my SWR Redhead and an Alesis Quadraverb. Heartbreaking but a good lesson that I never forgot.
Great to see a podcast video with Scott and Ian just shootin' the breeze. Recenr pods have been great but nice to see you guys just sitting chatting again.
Ian, your bass sounds SO NICE!! I'm jealous! Always good to know the status of your nips, Scott. Keep us informed.
if your company chooses to offer an import line (Japan does not count), personally I think that warrants no longer being “boutique”. it is the idea of someone else building your specs instead of the people who spec’d the guitar building it. that’s how Warwick and other companies can start boutique and become corporate umbrella companies. Parker guitars by Ken Parker and Larry Fishman come to mind. Although I personally still love their guitars and basses even after they sold the company and began importing. 🙏
Genuinely recommend that everyone checks out matsomoku guitars and bass... if you have an old instrument you learnt on and still love, they'll make it sound as good as a luthier made custom anyday... if required they'll do you a re wire, re fret, new pick ups, tuners, better bridge, set up to your taste and specification, they honestly can turn anything into a work of art. If you loved it before, you'll fall in love all over again and never lust over a wal or alembic again. Nb, im not sponsored or anything im just massively impressed with what they do, especially for the price.
A quick note for you legends: 2001 - 2006 Fender made the American Deluxe Zone bass.. I believe this was their foray into the boutique market. I have one and had no idea they existed until I found it for sale on marketplace, It's beautifully built. Only issue is no shielding in the cavity which I've learnt was a common gripe with the few people who had one and some struggled coming to terms with the 18V propriety preamp. It has a 'modern' tone with jazz bass roots (in my humble opinion)..
Electric basses that cost more than say a few thousand really have very diminishing benefits when it comes to how you are going to sound and how well they play. Sorry, but try taking any of these basses out to a live show and see if most people in the audience noitce anything all that different. Nope. Yes, the little attention to details might be nice in some ways but some of the more reasonably priced basses are well made , sound great and can be used in a wide range of situations. .The "boutique" (whatever that really means, is not really going to sound all that much better, or last longer. Far less expensive basses can be set up properly and you can always upgrade various components if it's that important. The prices of these planks is higher than the cost of a pretty good upright (fully carved, but not custom made, upright for say $5K). Find a bass that works, learn everything about its nuances and stick with it. Save your money for lessons with a great teacher who will teach you music.
Expensive instruments aren't for the audience, they're for the owner. That's not a bad thing: if someone has the money, then there's no reason they shouldn't buy something they'll love. We don't grumble at people buying nice cars or houses.
You don't *need* a boutique bass, it's a luxury item. Especially if you're playing out and especially especially if you're playing pub and bar gigs - you don't want to risk a beautiful instrument getting bumped, dinged or stolen.
When I was younger, I used to think guitars were built for working musicians. Now, I realise most musicians didn't choose music as a career, they make their money elsewhere. That's absolutely fine, they've still earned their money and if they want to buy an expensive living room guitar, then that's fine too.
I agree fully it's not always the instrument that makes the difference but the musician who plays the instrument
@@Mikey__R Good points. There is absolutely nothing wrong with buying whatever makes you happy and, more importantly in my mind, whatever makes you play more. I'm just coming from a practical point a view that your actual playing ability or what you really sound like in a mix is not going to be orders of magnitude different compared to using a reasonably good quality off the shelf bass. You will still sound pretty much like you always do. Offhand I would think that having a small number of different basses with different tonal characteristics ( (P, J, rickenbacker, some sort of short scale, some sort of a fretless )) might be more useful than having a super expensive bass. That is probably more useful for recording where you can take the time to craft nuances in the sournd to make your part really stand out. I also disagree with Scott that Fender custom shop is not boutique. Boutique , of course is not well defined so... To me boutique really is just a nice way of saying the bass is going to have some of the following characteritics pretty expensive (more than most off the shelf basses cost, ..say more than $2k-ish), might have some customized options, might be from a small company with limited manufacturing capability, might be a FSO with greater attention to some details or some unique things, might have a very unique quality (size or shape, sound, electronics,etc....) I think Fender Custom Shop fits in here.
Bravo, my friend; well said. Notice what the most notable players are using-Fender, Gibson, Ibanez, Yamaha, and Steinberger. Okay, every now and then you’ll see some Alembics, Sadowskys, and Veillette-Citrons. Amidst the boutiques, the old standbys seem to be holding their ground with very few apologies.
Sure, there may not always be appreciable differences in tone while gigging, but serious players are all playability and build quality. You can probably take a 1971 Fender P-Bass, use it as an oar to paddle from Catalina to Long Beach, dry it off, and it’ll still play. Some of those old bass geetars are built like brick 💩 houses. Most of us who have yet to attain rock god status (😆) can’t bluddie afford 5k+ .00 custom wonders. For those of you who can, bless you, and keep an eye on that build. That’s where the money talks.
Sometimes it's about the pride of ownership. Not about showing off but the satisfaction of owning a well crafted instrument that you enjoy playing and the tone which satisfies you.
Fellow bass player from Montana here, and perfect timing as I've been considering a Lull to be my next bass. Quality content, as always, and the insight is greatly appreciated! Perhaps a trip to Seattle to document the 1 of 1 you're having made from start to finish could be in the works?
You’re welcome to stop by any time :) - Spencer
Ok, I’ll say this as someone who owned a boutique and is now selling it.
First for definition of boutique. I think we’ve lost the plot here. I don’t define boutique as “this company is boutique”, but rather “this company produces some boutique instruments “. I know Ian loves Spector but they make basses which are not hand crafted, but they make boutique basses since their custom shop line/masterbuilt basses that are custom to a player. Similar with Warwick AND fender. They can make you an instrument handcrafted fully to your specifications…. Which I would define as boutique.
The hairy question of is it worth it… I’d say it depends. Are you a player looking for an Avery specific fit and finish and a very specific sound (and won’t settle for almost), then sure. Can you mod a bass and get a killer setup man plek job to get close… sure. But then there is the ownership aspect in that, you’ve built a relationship with a company that has made an instrument JUST for YOU, and it was made exactly how you wanted it, and you had a say in how it should be done.
For me, I own a F Bass VF5-PJ with Alder Ash body and Brazillian Rosewood fingerboard, and I’ve never heard a bass nail Motown and a more traditional tone than that bass, but that’s not really the sound I’m looking for. If I were to try out another boutique, I’d try a more modern sound like a BN, or an MTD that really nails the hifi thing. I’m willing to settle for close enough with a more bad produced instrument so I may likely leave it, but it’s all player preference at the end of the day :)
Great basses. I’ve tried everything over the last…..37 years. Starting with a cheap Cort with p-style pickups, to a little better Cort Jazz style, then to Arias, Fenders, Ibanez, Alvarez, Epiphones, Music Mans, Sire, 4 String, 5 String, 6 String, Humbuckers, Active, Passive….
At the end of the day, and that journey… my main arsenal? 3 Fender P (two with Radioshop pickup installed) and a Music Man (single H).
That’s really all that I ever needed.
my Vigier Excess 5 fretted is my main bass. Serves me well in any situation. I also have a Vigier iMetal four string fretless which has got nothing but compliments on the tone. I did have to replace the preamp in the fretless due to it shorting out after some time which is actually rare. I replaced it with a Darkglass tone capsule adding an active/passive switch and absolutely love it. I find myself often leaving it in the passive position with only the volume and pickup blend working.
I think a lot of y’all’s definitions orbited around two points: 1) boutique basses fill a niche and 2) boutique basses are created by enthusiasts and for enthusiasts, in addition to the other points you mentioned. Fenders, Music Mans, and Gibsons, etc, are “industry standards,” the FSOs fill a niche that enthusiasts want from these standards, and the more radical designs are niche from the start. I’d also put companies like Rickenbacker, Warwick, Hofner, Spector, Fender Custom, and Lakland in the “premier brand” category.
I had a similar experience as Ian in the studio. I was one of those bassists who hated Fender P basses until I realized (or was taught by engineer) they were the easist to record with. As for boutique instruments, Maruszczyk is a good consideration because even though Adrian will do basically anything you want, they also have their tried and true "formula" basses. My 5-string Maruszczyk fretless Frog is the only "boutique" instrument that I own and I couldn't be happier. Wait time was about 6 months.
Edit: forgot to mention the price is super reasonable, probably one of the best values for quality along with Mayones, in their backyard.
I have a P bass and a “boutique” bass. I love them both but as a sound engineer I disagree with that statement. I’ve heard it countless time too, but in my experience, most sound engineers don’t really mix with their ears but use a set of common rules that have been honed over decades with industry standard instruments, mics and hardware. Basically most engineers just copy the workflow of many famous old records. This means that the moment they have to mix an instrument or a sound that they are not familiar with, the average engineer will have trouble using it and he/she’ll ask to switch to something more “usual”. Tbf, this is also a way to save money and time for the client, since most studio sessions are payed by the hour. While it’s true that “if something works don’t fix it” it’s a good way to approach a business, it’s not good for the arts, because it will lead to stagnation. Any good engineer can mix any type of bass in any type of music, but it requires skills and most of all creativity and artistic vision. After all the 80s were full of records that made history played with non Fender instruments and I’ve never heard anyone complaining about it.
@@Astronometric I admire your ethic. You must be a good engineer cuz I've seen Fenders favored in the studio for 20 years. I started playing in 90s and my favorite basses are definitely not Fenders. But time and time again, the P Bass wins out without really having to do anything to the DI signal. As you know, it's harder to "add" character to an instrument than it is to take away what you don't need. Case in point: the Sadowsky jazz bass is difficult to work with in the mix cuz it has none of the mid range character of the p bass. As Ian would say, "Sounds amazing out there alone on bass island, but doesn't play well with others."
I really want to win that IMA4. They sound and look amazing. And based on the neck and body shape, I bet I'd find one really comfortable to play.
Love these podcasts. I would consider my Warwick German Pro Series a boutique though. I had to custom order it and it took them a year to craft it.
I think of Warwick as a boutique manufacturer in general, at least the old ones (pre-2000). Small player base, immaculate construction (every piece of the thing evaluated and optimized), beautiful woods, amazing sound, identifiable characteristics (Warwick growl), etc.
I fell in love with a Pedulla when I saw one in Boston in the early 80's and bought my Buzz in '86 and my MVP a year later. One's black, one's blue semi-metallic that Mike Pedulla hooked me up with after it came off the road as a sales sample and was in a local shop. Still play them both and am constantly surprised when no one mentions them, and the Buzz's in particular. The sound of that bass is so distinctive. Only bass I've played that was better was a '77 Series I Alembic that I had to sell because I'm too old to hold up a 13 pound bass any more. I guess I'm 0 for 2 with you guys. LOL
I had an ‘88 Pedulla MVP that I part exchanged against a Wal Custom. The only positive from that transaction was that the friend I later sold the Wal too loves it. I realised that I much preferred the Pedulla, although a have played a few I thought were a bit meh.
Ian speaking about “bass island” was so true, a bass can sound so killer n your own jam space, but take it to the studio and you just can’t get it to sit well, also to mention, if you show up to a session with a bass that a producer is familiar with, you will be saving time and money, that can be spent on the singer getting his tracks down better or anything
My modded Ibanez SR505E with Nordstrand Zen Blades and a Delano Sonar preamp is a boutique bass. Change my mind. Make my day.
Boutique hw dies not make a bass boutique... Especially quite basic model, tho not bad ( i like no thick coat there actually, seemed to resonate so nicely and open).
@@WakizashiSabre you fell for my trap. I was joking.
At the same time I agree, the resonance is very good accoustically.
I'm wondering if this really matters for electronic instruments.
It does play very well with a good setup also.
Fantastic video, guys! This is wisdom so many bass players (me included) often learn way too late: don’t fall for myths! The look or the brand doesn’t necessarily equal the sound you want. One man’s trash can really easily be another’s treasure and vice verca, but I guess it has to come with hard experience. Luckily I started with the P Bass, so I always come back to it no matter how much I experiment with sound or style, which I love to do, but y’know… I think it’s a reason most players end up with a p or a jazz if they started with it or find it along the road, don’t you? But as you said at the end: it’s your own journey. You should enjoy it on your own terms.
Loved the show. But also MTD makes some budget basses with the Kingston series (I own one and it’s for sure not boutique). I would still consider MTD to be boutique.
The Kingston series are still given QC and final setup in the Tobias shop though :) MTD are definitely boutique!
I did a 100% made to order custom shop built with Warwick and it was everything I could have wanted it to be! In my humble opinion, there isn’t a sound I can’t dial in with it (between all the controls and changing my playing style). I have other basses, but that’s my desert island bass and it will be with me until I die.
It cracks me up every time I see Bulbasaur and Squirtle in the background of Ian's stream! You guys are great. Love the information you guys give. Been watching you forever.... Keep it up!
You're never too old for those things you loved as a kid!!
I agree with you guys. Boutique happens to be a French word for "a very small shop".
Warwick is a good example : first years were definitely boutique. I remember them coming to our local shop and we guys being astonished by them woods... Boutique got to be small scale!!!
Speaking of mass-produced basses that leave the factory with a, shall we say, indifferent setup, is that it helps to have a music shop that will do a decent setup and correct minor flaws. My favourite shop will do a complete setup within a year of purchase so you have plenty of time to determine even quite small things you want corrected.
The other value of casual manufacturer setups, if that's reflected in the price, is those who can do their own adjustments are almost paid for their time to personally optimise the instrument.
Brilliant video. My definition of boutique would also include the type of people working, as well as the quantity; bigger builders have a lot of unskilled workers on an assembly line, whilst every boutique builder I've interacted with has had skilled craftspeople at every point of the construction; also, the guy whose name is on the headstock is usually heavily involved in the day-to-day operations of the company; it's also felt that quality has been the driving force behind the business, not profitability.
I was surprised Stenback didn't get a mention; his "FSOs" are brilliant. Other honourable mentions: Carl Thompson, Elrick, Nik Huber (for his Rietbergen shortscale), Aleš Vychodil, ACG, Sei, Mas Hino (formerly of Olinto and Atelier Z), and Manson, but having said that, I'm exclusively playing Smiths, Overwaters and Alleva Coppolos right now.
I've built two bass guitars from scratch. The first wasn't fantastic; my experience of building the second one, was that the setup and playability were baked in as part of the construction process, at least as far as my limited experience allowed. Because whoever is building your guitar is building it either by itself or in a small batch, they're able to make these small course corrections as they go along.
Contrast with factory built guitars, the factory has a strict process, a rigid recipe and no scope for creative problem solving along the way. A bass that fails QC will be scrapped rather than reworked as that's cheaper. The quality happens after the fact, at discrete points at various gates along the production line; unlike with a hand built guitar, where the quality will be kept high all throughout.
I've purchased 3 boutique basses.... on disappointed me 100%, another one was good ( a custom built 7 string so - lesson learned), and one is awesome and is my main bass
Your content is solid, you can tell you guys put a lot into it. You get a sub. Good luck with your goal.
I personally think a "boutique bass" is one made by a shop where the majority of building is done by hand by one or just a few builders. We're talking about builders that sell less than 1000ish instruments a year, employ a small team of employees & build to order. Also, if they make a "cheap" Chinese or Indonesian made "production" model, then they start to lose the "boutique" builder feel (Sadowsky, Lakland, Spector, etc).
This is a great topic for me because I’m not made of money and I’m not (currently) making any money playing bass, but I’m considering a boutique bass. The pluses, to me, are getting something made exactly to my specs; pickups, woods, shape, scale, etc. But the worry is waiting all that time, going through all the stress, spending what is, to me, a LOT of money…only to be disappointed in the end result. Also, I’ve lived long enough to see some of my favorite manufacturers shut down; Status, Pedulla, Modulus. Even the original Tobias basses. So the ones I really love - as an example, Fodera - are super pricey and the wait is measured in years. In the end, although no decision has been made, I find myself leaning toward more non-boutique basses.
You should give Mayones basses a look! I have 3 and I love them! They are handmade in Poland. In my opinion, they have Fodera quality without the NYC overhead! Much more for your money! Good luck!
Mayones are badass, I want a Viking 5 badly. I own a custom order Maruszczyk 5 string fretless that's right in the same ballpark as Mayones. From order to delivery was lightly less than 6 months.
“Let the music choose!” Excellent!
Hi there, I got my Alembic Rogue 4 string in 1997 and my LeFay Capone 5 String Reiner and Meik built for me two years ago (with only a little piece of porn wood on the headstock - the rest of the instrument is built from straight maple and Ash - it only weighs 4.1 kilos). Both instruments definitively are boutique basses! Regarding build quality, playability and sound versatility you really notice a big difference compared for example to my Cort fan fret 5 string. The electronics of the Alembic are amazing - so versatile and great sounding.
Mike Lull is the best bass for me!!
❤🙏
I have a Fender Customshop, and never considered it boutique, but to be fair the customshop is only 13 builders. That is more boutique-y than expected. I love my bass so much!
That IMA Dunn bass sounds killer indeed. I went the boutique way, have been a P bass guy my whole playing life but wanted something with more playability whilst maintaining the sound. Viv Wilcock was my go to, and my chambered 4P-51 is an absolute joy to spend the hours with. Great experience all around. There will be a short scale 5 string in my life in the near future, and i've boiled it down to a Wilcock or Vuorensaku.
the best boutique instrument is the one that fit you as a player perfectly. i have expensive jazz bass, xotic and sadowsky but i was never satisfied with them. the sadowsky played as good as my squier so i couldn't justify the price and the xotic had a lot of issue ( neck, electronic, fret heigh etc ).
for me its my Cort C5+. came in perfect setup, the neck shape fit my hand perfectly (flat profile). the sound also is more me ( really bright, mtd like ) and its also cheap, 500 euro that's it.
at the end of the Day, you could buy a super expensive smith or moolon but if its not your sound and if the string spacing and neck profile don't fit your hand well, then its not for you.
My main is a completely one off Fender Custom Shop. Every little piece picked out by me. The woods, the color, the pickups and configuration, the bridge, everything. Picked it up from the Fender HQ in Corona, from the guys themselves. And then Scott just rolls in “Fender can’t be boutique…” Soul. Crushed. But I get it. Still cried a little. But I get it.
😅😅😅
Scott really needs to learn the word 'they' 😂 "he... or she!". Anyway, I'm loving the videos! It's keeping me inspired and I'm playing more and more bass because of SBL. The platform has been massively contributing to my overall happiness. Thank you guys! ❤
This is awesome. Thanks again for do this. Any plans to add a segment on short scale bass for us shorty fans?
We may do at some point!!
I have a Yamaha trb4p from 1989, and it is ALL THE WAY a boutique bass : active electronics, fancy woods, flame maple top, gold hardware, sandwich construction, neck thru, ebony 24 frets fingerboard, and even with a piezo pickup !
The sound is ultra clear, with a piano-like definition and sustain for hours, so in the end the one and only non-boutique thing is the Yamaha logo on the headstock...
Again agreed with the "feel the room" thing. I have the stuff. But when I had the chance to buy a 4 string fretless Imperial I bought an octaver and transfered all my fretted 5 string stuff to the fretless 4. This bass is THE ULTIMATE 😂😂😂
BTW, put a Mike Pope pre in any instrument and make it boutique 😂
I’ve absolutely experienced what Ian went through in the studio. “Weird bass guy on bass island”. 🤣 On a much more basic level, an old bandmate once said to me “I don’t know why you bring all these other basses, that one sounds way better” (pointing to my old Rick). That really was a wake up, that someone else thought so too.
I know x1 slap lick on bass…
But you guys just chatting gear make me feel all warm and fuzzy inside ❤
SUBSCRIBED 👊🏽😘
I consider boutique gear as bespoke, either by the buyer or the builder. I know I'm wrong, but it helps me appreciate some things more.
I love boutique basses‼️
Also a small boutique builder who needs more attention is enrico pasini and wood and tronics basses. The wood and tronics stuff has the most badass single cut shape I’ve seen. He used to work for fodera and is based in italy
I recently bought a Ibanez BTB 5-string. Well crafted, beautiful finish, plays very well and wasn't that expensive. Also have a 6-string SGS Bass Collection which is quite rare and plays fantastic (never selling that one...) and a 6-string Mark Tobias (before it became MTD). Also really good but a bit heavy.
🧡🧡🧡